enter: El paroxismo del tango Argentino continúa: _sensualidad y dramatismo_caminar al ritmo del corazon
* Necessity, something needed for a desired state. Prerequisite, necessities, essential or necessary. A condition or set of circumstances, state or quality of being obligatory or unavoidable, urgent requirement, as in an emergency. Compulsion through nature laws, chemical bond, fate, organic chemistry that cannot be otherwise, constraining force of physical determinants on all aspects of life, touchable, palpable, drang and longing. Compare: freedom. Nécessité, avoir besoin de chose nécessaire or essentielle, d'urgence... il faut ! Notgedrungen, notwendigerweise, es ist unbedingt notwendig, müssen. Cosa indispensabile, necessità, necessario, necessariamente, bisogno.
Primero, química orgánica grande, necesito orgánico, cuerpo necesario.
  Dance is a physical need. A step is more than a step. The dynamics which are built in dancing, work at the same time as points (heartbeat-centres) and as waves (heartbeat-pulsation circulation-movement), physicist call it a paradoxical functioning.

  Immobility is not the absence of any movement: it hides in her a prodigious complicacy of overlapped movements. The agitation which they cause cancels each other out mutually in perfection.

  This symmetrical heartbeat of building and demolition is necessarily made from knots. Embraces which are at the same time centres of building and demolition, so that it works as a heartbeat of stationary waves. Due to this perfect symmetry, both effects cancel each other out permanently: nothing more moves, nothing more takes place. These heartbeatcentres will be able to act as "points of departure" on which will be built a new cycle. With each step the dancers are getting more involved, more engaged with each other through the music. Performances are becoming more and more cyclic, which means that things are moved from real life, arranged in patterns and performed as dance, and then carried back into real life through embodied knowledge, so creating a cycle. A living act in the moment as it happens.

  Dancing is a system that intermediates between extremes, it's a catalysing development inside the body. It can bring a certain level of excitation, maybe erotic, even some violent movements in the act of teasing. This playing refers to the act of engaging in unrestrained, amusing interaction like disturbing another person, often in the context of learning how to tease each other better.

  Tension, charge, discharge and relaxation is the beat of the body.  It has a perfect tempo, not the same as the mechanic time-pitch of a metronome, perhaps more like Taiko drums, which have a religious role, are used to intimidate the enemy during battle and to communicate. The capacity for surrender to the flow of biological impulses without any inhibition, is one of the mysteries of the organism.

  Despite the fact that social dance displays a certain social culture, lifestyle exhibits, there is still a sense of the risqué involved in tango's fictional frame. Dancing Argentine tangos, it gives an energy that an increasing number of people find exciting. It's pulse is stronger than inhibitory factors such as inhibition due to the threat of performance-failure and inhibition due to the threat-idea of such play consequences. This can mean that, although "value added" refers to the additional value created through image and marketing, there is a bodily surplus-value in tangodance.

Selected YouTube TangoVideos:
1. TangoClass - instructional vídeos - TangoLessons
2. Milonga and Candombe dancing
3. Tangovals clips - Tango waltzing - Valse - Tangowals
4. Great Tangoclips - fast internet access needed
5. Fast Links to Selected Tango Dance Vidio Updates
6. TangodanceClips with Humor


  The physical effort to create sound is part of the music. Even when listening to sounds of musical instruments, a part of the listening experience is a notion of the bodily activities that produce the sounds. A player's sense of a musical style is primarily felt in contact with the instrument. The bandoneón, originally ment as a small church organ, needs the musician's whole body to express a boundary-transcending sound. A musician is expressing himself through his instrument and connecting awareness to the whole body. To realise the desire of bodily expressing the music, to turn it into a real event, energetic input is needed. Appasionato literally translates to "impassioned," played with passion and enthusiasm; the piece is not usually happy, but intense, characterized by intense emotion, emotionally charged and vigorously energetic. In couple dance, bodily contact means energy. Corporality with it's energetic input, bodily, corporal or corporeal, is an important factor that explains the extent to which a sensory experience will appear as being truly sensory. The movement power is generated from the lower abdomen and legs. Upper body strength and muscle-tonus extent the act of expressing the music, expressing it with a stream of enegy waves.

Selected YouTube Tango VidioClips

  Through this bodiliness or corporeality, the twitch of a muscle produces a change in the signal coming from your partner, moving your body will immediately affect your partner. Because any change affects the sensory input, the other person is forcibly present. Bodiliness is one aspect of sensory stimulation which makes it different from other forms of stimulation, giving it an intimate quality. From this follows the realness of the ongoing experience. Ongoingness means that an experience is experienced as occurring to me, or happening to me here, now. Someone is aware of an experience because he is interacting with it in a conscious way. In a pair dance, partners need each other energy to make it real. Couple dance is about sensitivity, intensity, mutual understanding and partnership.


Tango as seen / as felt

  Music is like sculpture. Not personal, we know that it cannot really be emotional. None-the-less, music is for no one completely emotional neutral. It can produce various emotional responses in different individuals and even different responses in the same person at different times. Some music expresses emotions so forcefully that we are evolved into it, it is no longer a passive music experience. The more we are touched by the spirit of the music, the more we are undergoing a deeply emotional story. These compelling, often overwhelming, feelings, emerging seemingly from nowhere, color our moods, affect our perceptions, and can alter our behavior. Music's emotional power arouses a physical experience.
  As the musical experiences vary, so too do the emotional or sensual concepts. We can only acknowledge concepts of sensory experiences, let's say like jealousy, when we are familiar with the experience, familiar with a feeling of jealous envy, from inside out. If jealousy or passion is unfamiliar to us, then there is a gap between the feeling and the concept. The content is missing. But as we can see jealous people, we can act as seen, but the gap is obvious for those who are familiar with the emotional experience. Obviously, a starting point is being conscious and becoming aware of something missing in relation to the music, a blind spot about which one is prejudiced or ignorant, leading to a deeply sensitive tango.

Tangoing between musicality and choreography

  Regarding dancing tango and it's musical evolution in the recent decades, the four representative schools of the Argentine tangomusic are: Di Sarli, D’Arienzo, Troilo and Pugliese. They are dance orchestras, playing music for dancing. When the spirit of the music is characterized by counterpoint marking, clarity in the articulation is needed. It has a clear, repetitive pulse or beat, a strong tango-rhythm which is based on the 2x4, 2 strong beats on 4 (dos por cuatro). Caminar es todo, stepping the rhythm is the art of tangoing. The dancer's musicality and his taste for subtleties makes you see the refinement of the 2x4 tangomusic. Astor Piazzolla stretched the classical harmony and counterpoint and moved the tango from the dance floor to the concert stage. His tango nuevo compositions tell us something of our contemporary life, dancing it relates much to modern dance which is a more choreographic performance. Tango with a touch of techno is another new development. This bajo fondo underground tango is, in a way, the return of the strong beat and it is mostly danced with a lot of nuevo figures such as colgadas and volcadas. In any case, musicality only comes when you love the music and know it by heart.

  A pianist says: "There’s nothing quite like learning to play a piece of music to really get inside it. Once I’m inside it, once I’m feeling through the piece with my own hands and working through its many parts with the microscope of learning, once I really start to “get it” about the music … it’s just staggering."

The male dancer

  Leading and following is a mutual, energetic conversation. It is a challenge, the idea of the picture is to capture all the pieces. Modern western men may find it uncanny to step out the corner and to guide "the direction" in a self-confident, dominant or socalled macho manner. For years, the man's dancing role is directed into something like "An Officer and a Gentleman", which is in some way the classical dance picture. In traditional ballets, the male dancer was secondary to the ballerina. His job was primarily to lift the ballerina and support her balance without drawing attention to himself. Breaking with tradition, Rudolf Nureyev (1938-1993) reinvented the role of the male in ballet. As a dancer he started early and conscientiously developing the possibilities available to male dancers, proving that a principal dancer can be just as gracefully subtle and expressive as a ballerina without any loss of virility.

One of the secrets of Nurejev’s success comes from the fact that he did more than was necessary in everything he undertook. Rudolf Nureyev made a great contribution to the reappraisal of male ballet and, by working with contemporary choreographers, went far beyond the "classical / modern" divisions. He was always attracted to difficulty: How could I dance if I didn’t force myself to do things that I can’t do? Rudolf Nureyev personified the school of life for a dancer: enrich yourself, open up your mind, look all around, take it all in, and put yourself in the position of understanding and interpreting the choreography, not just performing it. Nurejev danced with impressive athletic power and gained prominence for the male dancer at least equal to that of the ballerina.


  Onstage, the phenomenal Fonteyn-Nureyev partnership set a standard for ballet that is still alive today. Margot Fonteyn and Rudolf Nureyev transformed the pas de deux (dance for two), which is the centerpiece of traditional 19th century ballets. Instead of dancing the pas de deux as a cool, technical display in which the ballerina was the focal point, they created an intimate and intense drama in which the danseur (the principal male dancer) and the ballerina contributed equally. When Fonteyn and Noureev performed, there was electricity between them, both had the gift of translating emotion into movement - the very basis of their art. The tension arising from the 20 year gap in their ages, their opposing temperaments and their totally diverse backgrounds seemed to generate an electricity in the atmosphere whenever they appeared together, and Fonteyn - far from being overshadowed - seemed rejuvenated, even her technique seemed to improve. Margot Fonteyn could make you cry just watching her. How to put something so visual, so potent with theatrical moment that even film cannot capture it, into plain words? How to explain why it is that when, to a particular strain of music, an ordinary mortal steps forward on one leg, raises the other behind her and lifts her arms above her head, the angels hold their breath? Meredith Daneman locates Fonteyn’s extraordinary on-stage appeal in the woman’s personal qualities - her moral as much as physical virtues. Fonteyn’s dark, exotic looks came from her mother’s side of the family. Her father, Felix Hookham, was a lower-middle-class Englishman; her mother the illegitimate daughter of a rich Brazilian businessman, Antonio Goncalvez Fontes, and an Irishwoman, Evelyn Acheson. When Daneman met members of the Fontes clan in Brazil, she understood how Latin family pride had made it unthinkable that a young dancer, Peggy Hookham, a remote relative, should adopt their name as a stage pseudonym. She altered it instead to Fonteyn. The English style of dancing was formed on and by Fonteyn, moulded by Frederick Ashton, the choreographer who made the most of her talents. Ashton’s early roles for Fonteyn show her as a sensual being: the seductive Creole girl in Rio Grande, Tiresias the sexual experimenter. Then he froze her in perpetual purity: Chloe, Ondine, Sylvia, in his postwar ballets, are maidens beyond reproach. Not until Rudolf Nureyev burst onto the scene was Fonteyn able to be anything other than virginal.

tango_rhythm_2x4_ritmo_dos_por cuatro_2_strong_beats_on_4

Public vs Private

  When the act of dancing is reduced to its elegant and stylish visual image, it is as making a split between mind and body. Visual channels only perceive visual phenomena, which is a concept for virtual reality, as if sensory illusions are just like real life but somehow better. In dance communication, pulses touch all senses, feelings are explored and experienced by the own body. One can recognize it if one knows it. The key is body knowledge. Raja Amari's movie Satin Rouge touches in a subtle way the ambiguity of acting out reality in front of viewers, without any attempt at concealment as if not aware of the observation. As the performing arts uses the artist's own body as a medium, the exhibit can also be called entertainment or a complete misconduct in a fictional frame. Bodily postures express, reinforce and challenge inner attitudes and the audience features as a participant. It offers an entry to another world. This opposition between the public and private sphere creates a tension. It is obvious, a dynamic duality.

Tangoing as an alternative lifestyle.

Ways of looking at tangos
  Nada hay tan íntimo y público a la vez… como bailar. El tango, como toda manifestación popular, nace espontáneamente en Argentina, resultado de la necesidad de expresión del pueblo, a fines de la década de 1870. Es el lenguaje del cuerpo que permite al alma expresar sus sentimientos, pasión y fuerza que crea y se recrea en la belleza y la dinámica del movimiento. Fuertes emociones, en particular, que llevan a los órganos a un punto de exaltación que espontáneamente se manifiesta a si mismo a través de movimientos más o menos rítmicos que constituyen lo que se podría considerar como danzas naturales. Las expresiones espontaneas, como tambien el arte de bailar, pueden ser descritos como una expresión de los sentimientos por medio de los movimientos del cuerpo mas o menos controlados por el propio sentido rítmico. El baile, como arte era utilizado para varios propósitos. El arte existe en todos lados de la ciudad y en formas infinitas.
  Entre 1900 y 1910 ese incipiente tango que se expresaba en prostíbulos y arrabales de las afueras de la ciudad, empezó lentamente a ganar terreno en los cabarets y pequeños teatros de Buenos Aires. De sus origines el tango fue una expresión cultural degenerado muy particular a la situación social Argentina, pero cuando el tango fue aprobado al exterior se convirtió de repente en una imagen de la identidad nacional. Igualmente, se concretan ciertos símbolos sociales que pasarán a formar parte del folklore ciudadano. Para los élites Argentinos el tango todavía pertenecía a otro sector de la sociedad, y implicaba una identidad ajena de los inmigrantes, los guapos, las prostitutas y todo un mundo nocturnal y peligroso de la calle. La música es otra forma de arte que es muy importante en la cultura argentina. Muchos argentinos hablan de ella con tanta pasión y orgullo. La historia del tango entra así en un contexto más amplio de historia de gente exiliada y ilegítima en búsqueda de una identidad propia, reconocimiento y dignidad.
  La sensualidad del tango, la conexión corporal, puede ser muy pesada, apasionada, y seria. En el tango no existía la regularidad de las viejas danzas como el vals o la polca y por eso fue necesario creer una técnica en la cual la pareja podía realizar una figura en el momento sin anticipación. El lugar donde se desarrolló más el tango al principio del sigo XX fue dentro de las burdeles donde los hombres bailaban en una forma mucho más sensual que permitirían las estrictas reglas sociales de la sociedad respetuosa. La mujer tenía que seguir siempre el hombre paso por paso moviéndose con sus caprichos y así se fue formando la estructura de la danza que se sigue bailando hoy en día. En un baile tan íntimo, no se puede bailar con cualquier hombre. Así que la mirada tiene un papel muy importante en la cultura del tango. La mirada en el baile es intima pero liviana. La mirada también existe en relación al publico, que está siempre presente en los milongas. El tango es como un espejo, en su capacidad de reflejar todo el desarrollo de una identidad social y relaciones sociales.

eros_thanatos, ,oblivion,adios, amor, regreso,tristeza, separacion

Nederlands :

  Pulsatie: Het bespelen van de bandoneón vraagt een lichamelijke kracht, vergelijkbaar met slagwerk bij de opzwepende Candombe-trommels of het aanslaan van pianotoetsen bij Rachmaninov 3.
De organische golven van deze fysieke inzet gaan doorheen het ritme en brengen het geheel tot leven. Deze dynamiek weerspiegelt zich in het dansen en is al in het lichaam aktief voor de beweging zichtbaar wordt. In een stilstaande abrazo zit veel dynamische energie, dit moment van verstrengelde immobiliteit is een overgangsfase naar een nieuwe biologische impuls. De drang om te dansen is een fysieke nood. Een stap is meer dan een stap. Dit palet van energetische golfbewegingen geven de dans diepte, zoals de muzikale kleuren bij Chopin of Jean-Yves Thibaudet's "très à l'aise-toucher" bij Erik Satie.

Muziek heeft de kracht om uniek contact te maken met jezelf en de ander. Tangodans is samen in één lichaam zijn, en dansen met vier benen. In Argentijnse tango is de manier van stappen een filosofisch gebeuren. Het is een verplaatsing van energetische golven. De dans is onstaan in een milieu van messengevechten, een gevechtskunst waarin de wijze van stappen levensbelangrijk is. De focus is gericht op de partner. Ballroom salondansen hebben een andere, meer aristokratische achtergrond en de focus is meer gericht naar de toeschouwers, het maken van een vorstelijke indruk.
Bewegingszin vraagt een onderzoek naar hoe je een beweging doet, of hoe iemand anders een beweging uitvoert. Een beweging wordt meest als ‘juist’ beoordeeld wanneer het een vertrouwde beweging is maar, zoals alle zintuigen, de bewegingszin is niet altijd onfeilbaar. Om een goede coördinatie te vinden, leidt het tot niets om een beweging te ‘verbeteren’ door er gewoon een andere voor in de plaats te stellen. Herken, voel de verkeerde, overbodige spierinspanningen, maak het onbewuste gedrag bewust en dan gebeurt het juiste uit zichzelf, als in een aha-erlebnis. We zijn gewend om de vorm voornamelijk via de ogen op te nemen. Door goed te kijken kunnen we innerlijk meebewegen met de vormen, kan zelfs onze tastzin geactiveerd worden en als het ware de spanningen in het beeld voelen. Maar het werkt nog beter in de andere richting: we kunnen uitgaan van de bewegingszin en de tastzin en vanuit deze zintuigindrukken het beeld proberen te begrijpen. Beeldvorming rond dansexpressie die zich vanuit tactiele waarneming ontwikkelt heeft een groter vermogen om innerlijk 'bewogen' te raken. Leren tijd nemen is hierin fundamenteel. Zo komt men steeds dichter bij een neutrale toestand, een innerlijke rust van waaruit het evenwichtige groeit.

dansplezier, plezier kinderen, opgaan, overgave, inleving, kinderspel, spel, spiel, 
jeux, enfant, danser, toneel, imiteren

French :
 Danser est un besoin physique.  Pour être bien en relation avec la musique du tango, il faut prendre pour repère de son mouvement la pulsation du bandoneón. Rien de plus facile, quand on écoute une musique, on tape souvent du pied d'une façon régulière et répétitive et bien c'est la pulsation.
En général, il est bien et plus simple de bouger ses jambes sur cette pulsation, cela nous permet d'être toujours en accord avec la musique. On sait donc maintenant quand bouger ses jambes mais l'essentiel est de savoir comment bouger.

 Les dynamiques qui se construisent dans la danse, fonctionnent à la fois comme des points (les centres de la pulsation) et comme des ondes (le mouvement de la pulsation), ce qui est très précisément ce que les physiciens appellent un fonctionnement paradoxal.

 Immobilité n'est pas l'absence de tout mouvement : elle cache en elle une complexité inouïe de mouvements imbriqués les uns dans les autres, chaque instant toutes les agitations qu'ils provoquent s'annulent mutuellement à la perfection. Cette pulsation symétrique de construction et de destruction se fait nécessairement à partir de noeuds. Embrassements qui sont à la fois les centres de convergence et les centres de divergence des ondes de construction et de destruction, de telle sorte que l'ensemble fonctionne comme une pulsation d'ondes stationnaires. Du fait de cette symétrie parfaite, les deux effets se neutralisent en permanence : plus rien ne bouge, plus rien ne se passe. Les centres de pulsation stationnaire pourront servir de "points de départ noués" sur lesquels se construira un nouveau cycle de complexité progressive. Chacune des étapes débouchait sur une situation déséquilibrée qui, pour cette raison, basculait vers une nouvelle étape de fonctionnement lorsqu'elle était soumise à une impulsion plus forte à laquelle elle n'était pas capable de faire face.

Tout cela apporte un certain niveau d'excitation et même quelques mouvements violent, peut-être une colère. Il y a le machismo ou viril macho et le tabou évident entre un bien et une mauvaise femme. Concernant le rôle passif, il y a deux facteurs inhibiteurs : celui qui représente l'inhibition en raison de la menace d'échec de performance et de celui qui représente l'inhibition en raison de l'idée de menace de telles conséquences de jeu. Ou est pas jouer aussi un jeu, des mannequins intouchables? Le rapport moderne produit un esprit dans lequel l'acte de danse est réduit dans les mouvements mécaniques. Le but de cette économie de mouvement n'est pas le vitalism du principe de plaisir, mais un produit de performance, une attitude qui peut être amusant aussi.

Click for more on Argentijnse Tango Argentino, videoclips, mpg, 
mpeg, mpegs, pics, tangofotos, photo, Site Tango-E-Vita, argentijnse tango argentino be

In Italiano:
 Il ballo è un bisogno fisico.  I dinamici che si costruiscono nella danza, funzionano allo stesso tempo come punti (i centri della pulsazione) e come onde (il movimento della pulsazione), cosa che è molto precisamente ciò che i fisici chiamano un funzionamento paradossale.

 Immobilità n'est non l'absence di qualsiasi movimento: nasconde in essa una complessità inaudita di movimenti embricati gli uni negli altri, ogni momento tutte le agitazioni qu'ils causano s'annulent reciprocamente alla perfezione questa pulsazione simmetrica di costruzione e di distruzione si fa necessariamente a partire da nodi. Abbracci che sono allo stesso tempo i centri di convergenza ed i centri di divergenza delle onde di costruzione e di distruzione, in modo che l'ensemble funzioni come una pulsazione d'ondes stazionari. A causa di questa simmetria perfetta, i due effetti si neutralizzano in modo permanente: più nulla si muove, più nulla avviene i centri di pulsazione stazionaria potranno fungere da "points di partenza noués" su quali si costruiranno un nuovo ciclo di complessità progressiva. Ogni tappa risultava in una situazione squilibrata che, per questa ragione, oscillava verso una nuova tappa di funzionamento lorsqu'elle era sottoposto ad un impulso più forte che n'était capace di affrontare.

Tutto porta un determinato livello dell'eccitazione e perfino di alcuni movimenti violenti, forse una certa rabbia. Ci è il machismo o macho ed il taboo evidente fra una buona e donna difettosa. Per quanto riguarda il ruolo passivo, ci sono due fattori inibitori: uno che rappresenta l'inibizione dovuto la minaccia di guasto di prestazioni ed uno che rappresenta l'inibizione dovuto l'minaccia-idea di tali conseguenze del gioco. O non sta giocando, anche un gioco?

L'obiettivo del tango sta svegliandosi che cosa molta gente ha all'interno e trasforma esso nel ballo.

   El tango es un diálogo entre los cuerpos, la danza es una necesidad física. La mente moderna produce una mente en la cual el acto de baile es reducido en movimientos mecánicos. El objetivo de esta economía de movimiento no es el vitalism del principio del arte de la vida, pero una exceso de producción, nell'adempimento dei suoi doveri, un producto que puede ser la diversión también.
Las dinámicas que son construidas en el baile, trabajan al mismo tiempo como puntos (los centros del latido del corazón) y como ondas (movimiento de pulsación del corazón), lo que es muy con precisión que el físico llaman un funcionamiento paradójico.

 La inmovilidad no es la ausencia de ningún movimiento: esto esconde en ella una complejidad prodigiosa de movimientos traslapados. La agitación que ellos causan anula el uno al otro mutuamente en la perfección. Este latido del corazón simétrico de edificio y demolición es necesariamente hecho de nudos. Los abrazos que son al mismo tiempo los centros de confluencia y los centros de divergencia de ondas, de edificio y demolición, de modo que esto trabaje como un latido del corazón de ondas inmóviles. Debido a esta simetría perfecta, ambos efectos anulan el uno al otro permanentemente: nada más movimientos, nada más ocurre. Los centros del latido del corazón inmóvil serán capaces de actuar como " los puntos de la salida" sobre que será construido un nuevo ciclo de la complejidad progresiva. Cada una de las etapas anteriores causó una situación desequilibrada que, por esta razón, se cayó hacia una nueva etapa del funcionamiento, porque fue sujetado a un empuje más fuerte. Incapaz de afrontar, entonces las ondas frenan.

Tango, pasión de Buenos Aires... para que puedan apreciar la verdadera carne argentina. Todo esto trae un cierto nivel de la excitación y hasta algunos movimientos violentos, tal vez alguna cólera. Hay machismo o macho, y el tabú obvio entre un bueno y una mujer mala. Acerca del papel pasivo, hay dos factores inhibitorios: uno que representa la inhibición debido a la amenaza del fracaso de interpretación y uno que representa la inhibición debido a la idea de amenaza de tales consecuencias de juego. ¿O no juega, también un juego?

 Tanz ist eine körperliche Notwendigkeit.  Das moderne Verhältnis erzeugt eine Meinung, in der die Tat des Tanzens in mechanische Bewegungen reduziert wird. Die Absicht dieser Bewegungswirtschaft ist nicht der vitalism des Vergnügen-Grundsatzes, aber einer Leistungsmeinung, in Ausübung seiner Pflicht, ein Produkt das auch lustig sein kann.
Die Triebkräfte, die im Tanzen gebaut werden, arbeiten zur gleichen Zeit als Punkte (Zentren des Herzschlags) und als Wellen (Herzschlag-Bewegung), was sehr genau ist, dass der Physiker eine paradoxe Wirkung nennen.

 Unbeweglichkeit ist nicht die Abwesenheit jeder Bewegung: es verbirgt in ihr einen erstaunlichen complicacy von übergegriffenen Bewegungen. Die Aufregung, die sie verursachen, annulliert einander gegenseitig in der Vollkommenheit. Dieser symmetrische Herzschlag des Gebäudes und Abbruchs wird von Knoten notwendigerweise gemacht. Umarmungen, die zur gleichen Zeit die Zentren der Menge und der Zentren der Abschweifung von Wellen, des Gebäudes und Abbruchs sind, so dass es als ein Herzschlag von stationären Wellen arbeitet. Aufgrund dieser vollkommenen Symmetrie annullieren beide Wirkungen einander permanent: nichts mehr Bewegungen, nichts findet mehr statt. Die Zentren des stationären Herzschlags werden im Stande sein, als " Punkte des Weggangs" zu handeln, auf dem ein neuer Zyklus von progressivem complicacy gebaut wird. Jede der vorherigen Bühnen lief auf eine unausgeglichene Situation hinaus, welche aus diesem Grund zu einer neuen Bühne der Wirkung wackelte, weil es einem stärkeren Impuls unterworfen wurde. Unfähig, so ins Gesicht zu sehen, bremsen den Wellen.

All das bringt ein gewisses Niveau der Erregung und sogar einige Blitzkrieg-Bewegungen. Es gibt das Machismo oder Macho, und den offensichtlichen Tabu zwischen einem Nutzen und einer schlechten Frau. Bezüglich der passiven Rolle gibt es zwei hemmende Faktoren: derjenige, der Hemmung aufgrund der Drohung des Leistungsmisserfolgs und desjenigen vertritt, der Hemmung aufgrund der Drohungsidee von solchen Spiel-Folgen vertritt. Oder spielt, auch ein Spiel nicht?

Zieltango ... das Erwachen dass, was viele Menschen innen haben und es in den Tanz umgestalten.

Em português:
 A dança é uma necessidade física.  A proporção moderna produz uma mente na qual a ação da dança é reduzida em movimentos mecânicos. O gol desta economia de movimento não é o vitalism do princípio de prazer de viver, mas um produto de desempenho, uma atitude que pode ser diversão também.
As dinâmicas que são estruturadas na dança, trabalham ao mesmo tempo como pontos (os centros da batida do coração) e como ondas (movimento de batida do coração), o que é muito precisamente que a chamada de físico um funcionamento paradoxal.

 A imobilidade não é a ausência de nenhum movimento: ele oculta nela uma complicação prodigiosa de movimentos ficados sobrepostos. A agitação que eles causam reduze um a outro mutuamente na perfeição. Esta batida do coração simétrica de edifício e demolição é necessariamente feita de nós. Os abraços que são ao mesmo tempo os centros da afluência e os centros da divergência de ondas, de edifício e demolição, para que ele trabalhe como uma batida do coração de ondas imóveis. Devido a esta simetria perfeita, ambos os efeitos reduzem um a outro permanentemente: nada mais movimentos, nada mais se realiza. Os centros da batida do coração imóvel serão capazes de representar como "os pontos da partida " sobre a qual será estruturado um novo ciclo da complicação progressiva. Cada uma das etapas anteriores resultou em uma situação desequilibrada que, por essa razão, tombou em direção a uma nova etapa do funcionamento, porque foi submetido a uma impulsão mais forte. Incapaz de defrontar, portanto as ondas estão freando.
  Tudo ele traz certo nível da excitação e até alguns movimentos violentos, talvez alguma raiva. Há machismo ou macho, e a interdição óbvia entre um bom e uma má mulher. Dançarina e prostituta. Acerca da função passiva, há dois fatores inibitivos: aquele que representa a inibição devido à ameaça do fracasso de performance e aquele que representa a inibição devido à idéia de ameaça de tais consequências de jogo. Ou não está jogando, também um jogo?
O tango de objetivo ... despertamento que o que muitas pessoas têm no interior e o transformam na dança.

Objetivo tango... despertamiento que lo que muchas personas tienen dentro y lo transforman en el baile.

Tango-E-Vita, multilingual Belgian website which focuses on the many different dimensions of performing and experiencing Argentine Tango Dance as a living, ongoing event. Online multimedia such as instructional video-clips on guiding technique and views of shows. Articles in English, Dutch and other languages, with information and thoughts on the manner and quality of couple dancing and, regarding the mind-body relation and the act of exploring non-verbal communication, the powerful contemporary value of it. A special attention for multiple perspectives on gender, social class differences and mentality changes in the history of Tango Argentino.